How does the chapter define tonal 'values' in art?
Explanation
This question tests the basic definition of 'values' in art, a foundational concept for understanding light and shadow.
Other questions
What is the term for the technique used to make objects appear three-dimensional by depicting how light falls on them to create lights and shadows in a logical way?
According to the description of the four aspects of light/shadow in Figure 10-1, what is a 'Crest shadow'?
What paradox is described regarding the perception of shadows in a drawing?
What are the three basic portrait poses traditionally used by artists?
In the warm-up exercise copying the Courbet self-portrait, what tool is used to create the light shapes on the toned paper?
What is the key piece of advice given for drawing the shadowed areas in the copy of Courbet's self-portrait?
What is the technical term for creating tones in a drawing by laying down a 'carpet' of pencil strokes, often crossing them at angles?
In classical hatching, what is the described angle for the 'cross' set of marks relative to the original set?
How is a continuous tone created with a pencil, as described in the chapter?
When reviewing the proportions of a frontal or full-face view, where is the eye level line located?
In a frontal view, what is the proportional relationship between the width of one eye and the width of the space between the eyes?
According to the general proportions for a full-face view, what facial features align vertically with a line dropped from the center of the pupils?
What is the primary conflict young artists face when attempting to draw a three-quarter view, leading to errors?
In a three-quarter view, what is the specific relationship between the central axis and the eye level line?
What is the most common error beginning students make when placing the eye on the side of the head closest to the viewer in a three-quarter view?
What is the correct proportional distance between the edge of the nose and the inside corner of the near-side eye in a three-quarter view?
What mnemonic is provided for placing the ear in a three-quarter view portrait?
For the final self-portrait exercise, what object becomes the 'picture-plane', removing the need for the plastic Picture Plane?
What is the suggested first step in the drawing process for the self-portrait, after the composition is set?
What advanced drawing skill, mentioned as one of two additional skills in the introduction, is described as a 'dialogue' between the artist's intent and what develops on the paper?
What is the key to determining the length of the nose in a full-face self-portrait, according to the list of proportions?
What common error do beginning students often make regarding the shoulders in a portrait?
What caution is given to students who have decided on a three-quarter view for their portrait?
What is the 'artist's way' described for assessing and correcting a drawing after a working session?
How are the 'After-Instruction' R-mode drawings characterized in comparison to 'Before-Instruction' L-mode drawings?
In the abbreviated value scale mentioned in the chapter, how many tones are shown in evenly graduated steps?
How does the perception of Gustave Courbet's 'Self-portrait' change when viewed upside down versus right side up?
What happens in the exercise where you are asked to copy the drawing of Courbet upside down?
Which artist's complex light/shadow drawing of a cat sleeping on a chair is used as a superb illustration of shading with a continuous tone?
When beginning the review of the three-quarter view, what enclosed shape is formed when the tip of the nose nearly coincides with the outer contour of the turned cheek?
What is the recommended method for drawing the eye in the three-quarter view to bypass symbolic thinking?
Where does the text state the inside corner of the near-side eye should be located in a three-quarter view?
When setting up for the final self-portrait drawing, what is the recommended way to use the mirror?
What is the recommended method to 'see' the eyes and place them in the tonal self-portrait without drawing them with lines first?
In the list of main proportions to watch for, where do the tops of the ears approximately fall in a full-face portrait?
Where do the bottoms of the ears approximately fall in a full-face portrait with the head held level?
What does the text suggest is the result of a 'Before-Instruction' drawing done in L-mode?
What is described as the 'lightest possible light' in a pencil drawing?
According to the text, which brain hemisphere is specialized for deriving meaning from patterns of shadows?
How does the 'three-quarter view' get its name?
What is the key advantage of toning the paper with a graphite ground before starting a drawing like the Courbet copy?
What is meant by the instruction to be 'parsimonious' when working up the Courbet drawing?
The chapter states that to achieve the same facial expression as Courbet in the self-portrait, one must pay careful attention to what?
In the self-portrait by Edward Hopper (Figure 10-13), what does the viewer 'see' on the shadowed side of his head despite it being barely suggested?
What is the amusing saying from art circles mentioned in the chapter about knowing when an artwork is finished?
What is the first step in practicing the technique of crosshatching?
In a frontal view, where does the text state you can visualize an inverted triangle to help determine proportions?
What is the suggested way to pose a model for the first three-quarter view drawing to avoid covering up the features as you draw?
What is the final skill in the list of five perceptual skills that the chapter says will be practiced from this exercise onward?